Who

Claude Cahun was a French surrealist artist and photographer, born Lucy Schwob in 1894. She adopted a gender-neutral name and used her art to challenge and defy traditional gender roles and norms. Cahun’s work was deeply introspective and often explored themes of identity, gender fluidity, and the subconscious.

What

Cahun is renowned for her surrealist self-portraits and experimental photography. Her work often involved blending her image with various props, settings, and imaginative elements to create thought-provoking compositions. She also engaged in writing and sculpture, contributing to her multifaceted artistic expression.

When

Most of her significant work was created during the 1920s and 1930s, a period marked by artistic experimentation and the rise of surrealism. Cahun continued her artistic pursuits into the 1940s and even during World War II, maintaining her creative output despite the challenges of the time.

Where

Cahun’s artistic journey began in Paris, where she became involved in the Surrealist movement and collaborated with other avant-garde artists. During World War II, she moved to Jersey with her partner, Marcel Moore, where they continued their creative work and engaged in resistance activities against the Nazi occupation.

How

Cahun utilised innovative photographic techniques such as multi-exposure, solarisation, and surreal compositions to explore and challenge traditional concepts of gender and identity. Her self-portraits often featured dreamlike and fantastical elements, creating a unique and impactful visual style that stood out in the art world.

Why

Cahun’s work aimed to question and defy societal norms, particularly around gender and identity. Through her art, she sought to express her unique perspective and challenge conventional ideas, making a lasting impact on the world of art and photography. Her work continues to inspire and provoke discussions around these themes, cementing her legacy as a pioneering figure in both surrealist art and LGBTQ+ history.

World War II activism

In 1937, Claude Cahun and Marcel Moore moved to Jersey. When Germany occupied Jersey during World War II, they became active in the resistance, creating anti-German fliers. These fliers often included translated BBC reports on Nazi crime, arranged into rhythmic poems and harsh criticisms. Using the pseudonym ” The Soldier With No Name,” they aimed to deceive German soldiers into thinking there was a conspiracy among the troops. They secretly distributed the fliers at military events and in carious places for soldiers to find.

On one occasion, they hung a banner in a church saying, “Jesus is great, but Hitler is greater – because Jesus died for people, but people die for Hitler.” Their resistance efforts combined political activism with artistic creativity, using dark humour to undermine authority. In 1044, Cahun and Moore were arrested and sentenced to death, but the sentence was never carries out as Jersey was liberated in 1945. Cahun’s health suffered from their imprisonment, and they died in 1954. At their trial, Cahun famously told the German judge they would need to be shot twice as they were both a resister and a Jew, which reportedly led to laughter in the court and may have spared them from excecution.

Social Critique and Legacy

Claude Cahun created art for herself and did not seek fame. Her work remained largely unrecognized until 40 years after her death. Cahun’s life was marked by actions that defied convention, challenging public notions of gender, beauty, and logic. Her art aimed to unsettle viewers’ understanding of photography as a mere documentation of reality.

Her poetry challenged gender roles and criticised the social and economic boundaries of the modern world. In the Parisian Surrealist group, Cahun introduced new, diverse representations, contrasting with the male-dominated view of women as symbols of eroticism. Instead, she presented a gender non-conforming, chameleonic figure. Cahun’s photographs, writings, and revolutionary lifestyle continue to influence artists today.

Marcel Moore

Marcel Moore, born Suzanne Alberte Malherbe, was a French illustrator, designer, and photographer. She was Claude Cahun’s romantic and creative partner, and they were also step-siblings. Their parents married each other after their respective divorces, making them stepsisters before they fell in love as teenagers. Together, they formed a powerful artistic duo. Moore and Cahun collaborated on numerous projects, with Moore often assisting in the creation of Cahun’s iconic self-portraits and other works. Their relationship was not only personal but also deeply intertwined with their art, making them a significant force in the surrealist movement.

Religious Background, Gender and Cahun’s mother

Claude Cahun was raised in a wealthy, interfaith family with strong Jewish roots from their father’s side. Their mother, Mary-Antoinette Courbebaisse, suffered from severe mental illness and was eventually institutionalized, which left Cahun to be primarily raised by their grandmother. This challenging family dynamic contributed to Cahun’s sense of being an outsider and influenced their work, as they used art to challenge societal norms and explore themes of identity and gender fluidity.

During the early 20th century, society had rigid and conservative views on gender, with strict expectations for men and women. Cahun defied these norms by presenting themselves in androgynous and ambiguous ways in their self-portraits, using costumes, makeup, and props to blur the lines between male and female.

Image analysis

“I am in training dont kiss me”

The statement on Claude Cahun’s shirt, “I am in training dont kiss me,” is a powerful and provocative declaration that encapsulates her radical approach to gender and identity. By wearing this inscription, Cahun subverts traditional gender expectations and societal norms. The phrase “I am in training” suggests a process of self-discovery and transformation, indicating that identity is not fixed but rather fluid and evolving. The command “dont kiss me” rejects conventional female passivity and objectification, asserting autonomy and control over her own body and identity. This defiant message aligns with Cahun’s broader artistic and philosophical exploration of gender ambiguity and self representation, challenging binary notions of male and female embracing a more nuanced, multifaceted understanding of self. Through this visual and textual statement, Cahun invites viewers to reconsider their assumptions about gender and identity, foregrounding the performative and constructed nature of both. This is exceptionally striking as during the early 20th century there were strong stereotypical gender roles and expectations, and Claude Cahun and their work totally contradicts these societal norms and that is why they are extremely inspirational and inspiring as an artist.

Emotional Response

Cahun’s “Behind the mask another mask” portrait evokes a complex array of emotions. The image elicits a sense of intrigue and introspection, compelling viewers to contemplate the layers of identity and self-perception. The solemn expression and the direct gaze of the subject create an intense connection, while the mask motif adds an element of mystery and ambiguity, prompting reflections on the nature of appearance and reality.

Mise en Scene

The photograph features a close-up of Claude Cahun, adorned with a mask. The mask itself is a focal point, symbolizing the theme of duality and the concealed aspects of the self. The subject’s head is slightly tilted, and the background is nondescript, ensuring all attention is drawn to the intricate details of the face and mask.

Visual Aspects

The composition of the portrait is tightly framed, focusing on the subject’s face and the mask. The stark contrast between light and shadow highlights the contours of Cahun’s features and the mask, adding depth and drama. The visual elements include sharp lines and defined textures, creating a visually striking image that captures the viewer’s attention.

Technical Aspects

The portrait was likely taken using a large-format camera, which was common during Cahun’s time. The high contrast and sharpness suggest careful control of lighting and exposure. The photograph might have been developed using traditional darkroom techniques, which allowed for precise manipulation of contrast and detail.

Conceptual Aspects

Conceptually, the image explores themes of identity, performance, and the fluidity of self. The mask serves as a metaphor for the multifaceted nature of personal identity and the societal roles individuals play. Cahun’s work often delved into gender and identity politics, challenging conventional norms and encouraging viewers to question their perceptions.

Contextual Aspects

Claude Cahun was active during the early 20th century, a period marked by significant social and political upheaval. The photograph reflects the avant-garde artistic movements of the time, particularly Surrealism, which sought to explore the unconscious mind and challenge traditional representations. Cahun’s work was also influenced by the burgeoning feminist discourse and the questioning of gender binaries, making this portrait a significant commentary on the evolving notions of self and society during that era.

Gillian Wearing

Gillian Wearing is a British conceptual artist, born on December 10, 1963, in Birmingham, England. She is known for her thought-provoking works that explore themes of identity, memory, and the boundaries between public and private life. Wearing gained recognition as one of the Young British Artists (YBAs) and won the prestigious Turner Prize in 1997. Her work often involves engaging with strangers and inviting them to express themselves through signs or masks, blurring the lines between reality and fiction1.

Wearing was inspired by Claude Cahun’s work because of its exploration of identity and gender fluidity. She discovered Cahun’s photographs in the mid-1990s and felt a strong connection to the playful yet profound way Cahun used masks and self-portraiture to question societal norms. This inspiration led Wearing to create her own version of Cahun’s “Behind the mask, another mask,” reflecting her ongoing interest in the performative aspects of identity and the layers of self that we present to the world

Gillian Wearing’s version of Claude Cahun’s “Behind this mask, another mask” is a fascinating exploration of self identity and artistic homage. In her 2012 self portrait titled “Me and Cahun holding a mask of my face,” Wearing reconstructs Cahun’s iconic 1927 self portrait, creating a powerful dialogue between the two artists across time. Wearing’s interpretation not only pays tribute to Cahun’s pioneering work but also reflects her won ongoing exploration of identity, gender, and masquerade. By holding a mask of her own face, Wearing emphasises the performative aspects of identity and the layers of self that we present to the world. This act of mirroring and reimaging Cahun’s work highlights the enduring relevance of Cahun’s themes and the continuity of artistic inquiry into the nature of selfhood.